Loading
Log In

Results

Sort By:  1-10 of 36 (4 pages)
Results per page:
         

Inglourious Basterds and the gender of revenge

Heidi Schlipphacke

Heidi Schlipphacke

Search for publications

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Quentin Tarantino’s re-telling of the history of WWII, Inglourious Basterds, begins with an extreme long shot of a pristine French meadow with a simple farmhouse in the background. To the left of the farmhouse we see a small figure...

Exploding cinema, exploding Hollywood: Inglourious Basterds and the limits of cinema

Imke Meyer

Imke Meyer

Search for publications

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...“Greetings, Jerusalem, I am deeply sorry.” These are the words Hitler speaks—in Hebrew—in a video the artist Boaz Arad created in the year 2000. Arad spliced together many “very short film clips from Hitler’s propaganda speeches to produce...

The Holocaust as Dramatic Spectacle

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

Search for publications

Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction: Characters and Spectacle Rather than attempting to ascertain what film or films are the most significant, this chapter instead surveys a number of films that utilize the Holocaust as a dramatic spectacle. Quality...

Lulu’s menorah: seeing and Nazi-ing

Justin Vicari

Justin Vicari

Search for publications

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Max Horkheimer and Theodor W. Adorno, Dialectic of Enlightenment, ed. Gunzelin Schmid Noerr, trans. by Edmund Jephcott. (Stanford: Stanford University Press, 2002), 120.“No one must be hungry or cold. Anyone failing to comply goes...

Counterfactuals, quantum physics, and cruel monsters in Quentin Tarantino’s Inglourious Basterds

William Brown

William Brown is Senior Lecturer in Film at the University of Roehampton, UK. He is the author of Supercinema: Film-Philosophy for the Digital Age (2013), Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010), with Dina Iordanova and Leshu Torchin, and co-editor, with David Martin-Jones, of Deleuze and Film (2012). Author affiliation details are correct at time of print publication.

Search for publications

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...Inglourious Basterds (2009) shows us history as it wasn’t. The titular Basterds are a bunch of predominantly American Jews dropped into occupied France, where it is their business to kill Nazis. They discover that a Parisian cinema...

Body Genres II: Pornography and Exploitation

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

Search for publications

Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction: Sexual Theater Susan Sontag describes a strange underworld fascinated with Nazi iconography in her essay, “Fascinating Fascism.” She attributes the fetishistic eroticization to power relations, where the SS exercises “total...

Body Genres I: Melodramatic Holocaust Films

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

Search for publications

Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction This chapter and the two following it are informed by Linda Williams’s concept of the “body genres,” films that provoke a visceral response in the spectator. Williams identifies melodrama, horror, and pornography...

Vengeful violence: Inglourious Basterds, allohistory, and the inversion of victims and perpetrators

Michael D. Richardson

Michael D. Richardson

Search for publications

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...When Quentin Tarantino’s long-planned war film premiered at Cannes, it received a nearly ten-minute-long standing ovation.Wigney, James, “Quentin’s Glory Days.” Sunday Mail (South Australia), August 16, 2009, 91. Following its full release,...

Inglourious music: revenge, reflexivity, and Morricone as muse in Inglourious Basterds

Lisa Coulthard

Lisa Coulthard

Search for publications

Quentin Tarantino’s Inglourious Basterds : A Manipulation of Metacinema

Continuum, 2012

Book chapter

...While Inglourious Basterds shares its focus on revenge with many of Tarantino’s other films, it distinguishes itself by the way in which this vengeance moves beyond human parameters to encompass the revenge of cinema itself. Cinema...

Holocaust Documentaries IV: The Poetic Documentary

Aaron Kerner

Aaron Kerner is an Associate Professor in the Cinema Department at San Francisco State University. Author affiliation details are correct at time of print publication.

Search for publications

Film and the Holocaust : New Perspectives on Dramas, Documentaries, and Experimental Films

Continuum, 2011

Book chapter

...Introduction Incongruity and radical juxtaposition are trademarks of the poetic documentary. At the core, then, of the poetic Holocaust documentary are comparative strategies to measure temporal differences, generational differences...